![]() ![]() This in and of itself is nothing unusual, but in this case works ingeniously as a pivot chord to the new key of B flat, which is coming up in the pre-chorus. ![]() Besides that, Dm is a IV minor chord to the key of A. The next chord Dm is closely related to the F we have heard previously so it doesn’t sound out of place. When we hear that, we know something different is coming. Instead of one bar of F#m that had come 3 times before it, this time we get two bars F#m in a row. The interesting part of the verse comes in the last four bars. Many other songs of the late 60’s use a similar progression, including Chicago’s 25 or 6 to 4, Cream’s White Room, etc. In the verse, the progression I b VII VI b VI is nothing new, or at least was not anything new for the time period in which it was written. | II9 = IV9 of upcoming key | % | VI maj = I of upcoming key | % | III maj = V of upcoming key | % || VI | % | IV min = III of upcoming key | III of new key (with 7th, 3rd inversion) || Here are the chords, then the harmonic analysis, and the explanation. In fact, most listeners would not have even known that the key changed that many times within such a short duration. John Lennon transitions from one to the next so smoothly that it doesn’t sound jarring at all to our ears. For one thing, each section: the verse, pre-chorus, and chorus, are each in a different key. A Harmonic Analysis of “Lucy in the Sky with Diamonds”Įven if you take away the psychedelic lyrics, eastern instruments, tempo changes, and cool bass lines, Lucy in the Sky with Diamonds would still be an interesting piece of music because of its harmonic structure. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |